LoosenArt Mag / Gallery

Catalogue Exhibition │Millepiani

Posted on January 27 2022

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THE EPHEMERAL AND THE

EVANESCENCE PERCEPTION

Exhibition
27 June  —  5 July 2022
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JOCKEL LIESS

Pattern Study 2 │ Photography, 2020

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Pattern study 2 is part of a series of photographs taken of the eroding surface of a large decaying root. The organic patterns and colours of the decomposing wood intertwining with cracks and fungal growth are observed and documented as a ‘readymade’ ephemeral work of art.
- J. L.

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JOCKEL LIESS

Pattern Study 9 │ Photography, 2020

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Pattern study 9 is part of a series of photographs taken of the eroding surface of a large decaying root. The organic patterns and colours of the decomposing wood intertwining with cracks and fungal growth are observed and documented as a ‘readymade’ ephemeral work of art.
- J. L.

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JACOB MATHER
Inscape I │ Photography, 2022

An Inverse Rorschach - Inverse: opposite or contrary in position, direction, order, or effect - Rorschach: a psychological test in which a person is shown spots of ink and asked what they look like, as a way of learning about the person's personality or feelings.
- J. C.

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JACOB MATHER
Inscape II │ Photography, 2022

An Inverse Rorschach - Inverse: opposite or contrary in position, direction, order, or effect - Rorschach: a psychological test in which a person is shown spots of ink and asked what they look like, as a way of learning about the person's personality or feelings.
- J. C.

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IRIS FRIEDRICH
Atelierblumen (Studio Flowers) │ Photography, 2011

In my still lifes I take up the human passion for collecting. The desire to preserve the beautiful. The studio flowers are still beautiful in decay - the withered flowers even seem to entertain themselves. The photograph is part of a larger series on the theme of "what remains“. The bouquet was left over from an exhibition opening. I put the flowers in a row. Other items in the series I sorted by size or color.
- I. F.

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IRIS FRIEDRICH
Muschelflaser (Shell Glasses) │ Photography, 2015

In my still lifes I take up the human passion for collecting. The desire to preserve the beautiful. The photograph is part of a larger series on the theme of "what remains“. The shell jars came from the collection of a deceased artist. He sorted by type. Stones and polished shards he stored with water to keep the color they had as he found them wet.
- I. F. 

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JENNIFER MAIOTTI
Transience │ Photography, 2021
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JENNIFER MAIOTTI
Pra Sempre │ Photography, 2022
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SVETLANA ASTAKHOVA
Time Flexibility │ Photography, 2011
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MAYA KACHRA

Encased Beauty Photography, 2021

I promote change and challenge societal issues through using natural materials and processes. The flowers encased in ice are symbolic of femininity, delicateness and beauty, and challenge the objectification of women. By allowing the ice to melt, I empower the audience and create a tense, temporary relationship to reflect life.
- M. K.

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FERN L. NESSON

Ephemeral │ Photography, 2021

Caught in a monent, nver to be reapeared, a man stands transfixed by the glimmering , translucent , fluttering silk cloth. His profile, lit by the blue light, invites us to join him in celerbrating the ephemeral beauty.
- F. L. N.

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DMITRIS THEOCHARIS

Light Tessellation │ Photography, 2020
A method of tessellation awakens in the space, irritated by the instant light falling through the window. This rule-based process, unfolded in the space, has as a commencement a glowing shape formed on the floor. The emerging pattern is spreading throughout the wooden surface, changing instantaneously its image.
- D. T.
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JO SCHEDER
Affinity Delft │ Photography, 2017
The artwork originates in ambient daylight, refracted to create/find images that I then photograph and explore digitally. The final image is an evanescence, conjured from the light of the moment: visually real, fleetingly present; transient and ephemeral. For Affinity Delft, I collaged images from my still life photography archive.
- J. S.
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JO SCHEDER
Apparition in Yellow Green │ Photography, 2019
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NIKOLAY VLAHOV
We Are Nature │ Photography, 2020
The photography represents the human-nature relationship. Since we have started to lose our connection with nature, we are continuously forgetting that we are just a part of it. Moreover, due to our invasive activities we have turned our own nature into an enemy we are fighting with – fighting by further irreversible destructions done absolutely consciously.
- N. V.
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LENA MAKULA
Funfair │ Photography, 2021
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CAGRI ERTEM
Untitled  Photography, 2021
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FRANK LAHERA O'CALLAGHAN
Completing Physiognomy │ Photography, 2018
A photograph that invites us to meet with space, with the ephemeral, with that reality, which perhaps has a face, which perhaps has a lot to tell and teach us. Observe, breathe realities. Each environment has its narrative, it is to know and start to see sensibly.
- F. L. O C.
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FRANK LAHERA O'CALLAGHAN
Hair  Photography, 2018
A photograph that invites us to explore and be sensitive to what surrounds us, understand the beauty of the ephemeral and appreciate each narrative that the space proposes to the senses. Be attentive, explore, sensitively investigate every daily detail.
- F. L. O C.
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ROSHNI BAKER
Leafless Trees │ Photography, 2022
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JOHN KOSMER
Snow Storm │ Photography, 2020
Landscapes like this one only last a moment after the snow storm before the snow melts and/or is blown away.
- J. K.
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LEANNE TRIVETT
Under the Oak │ Photography, 2020
I am a visual artist that uses photography to narrate identity in and to create images that show how details and color interact in the world.
- L. T. S.
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HOLLY BRYAN
No Trail, but More Erosion │ Digital, 2021
No Trail, but More Erosion, addresses how geotagging an image of a geological structure can affect the natural landscape. Influenced by the current climate crisis and the mass production, interference, and circulation of images found online, I am working on displaying the consequences that geotagging has on the environment.
- H. B.
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SUSAN RICHMAN
Hyadrangea Stratum │ Photography, 2018

The photographs, part of a series titled Re>Formations, explore my interest in the relationship between shape, light and color along with the fragility of nature. The images, created from common botanical materials found in my garden or on walks near my home are layered in molds with water and dyes. Each layer is frozen before another layer is added to create depth and range of colors. Once complete, the frozen sculptures are melted to reveal elements from the exposed layers and to form imperfect edges. The melting phases of the sculptures are photographed on a light box to expose hidden details as the light passes through the fragile subject. As the sculpture thins and melts the metamorphosis is like a butterfly, but with each passing second at risk of ruin. Analogous to scientific specimens, the sculptures are isolated from their surroundings for better observation. The circular form allows the viewer a window to peer into and explore a new world. The original materials and sculptures collected exist only for a brief time but have been transformed and preserved permanently as photographs for display.
- S. R.

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SUSAN RICHMAN
Susurrus Stratum │ Photography, 2018

The photographs, part of a series titled Re>Formations, explore my interest in the relationship between shape, light and color along with the fragility of nature. The images, created from common botanical materials found in my garden or on walks near my home are layered in molds with water and dyes. Each layer is frozen before another layer is added to create depth and range of colors. Once complete, the frozen sculptures are melted to reveal elements from the exposed layers and to form imperfect edges. The melting phases of the sculptures are photographed on a light box to expose hidden details as the light passes through the fragile subject. As the sculpture thins and melts the metamorphosis is like a butterfly, but with each passing second at risk of ruin. Analogous to scientific specimens, the sculptures are isolated from their surroundings for better observation. The circular form allows the viewer a window to peer into and explore a new world. The original materials and sculptures collected exist only for a brief time but have been transformed and preserved permanently as photographs for display.
- S. R.

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